Sonata for Flute and Piano

http://id.loc.gov/vocabulary/organizations/US-dlcm http://hdl.loc.gov/loc.music/eadmus.mu009010.2 02787cpcaa22004331a 4500 20121731041705.5 060426i19481998xx eng 2006568219 i 1900/1998 k 1957/1993 ML31.D55 Di Domenica, Robert, 1927- Robert Di Domenica collection, 1948-1998 (bulk 1957-1993). EAD master sort node: @alpha_character^d^@alpha_srt^di domenica^@title^Robert Di Domenica Collection^@href^http://hdl.loc.gov/loc.music/eadmus.mu009010^@aggregate^mu^@ead_file_name^mu009010.xml^@eadid^mu009010^ 2200 items 43 containers 15 linear feet American composer, flutist and music educator. Music manuscripts and printed music by the composer, performance programs, materials relating to his teaching career, a small amount of correspondence, biographical material, writings, photographs and six paintings by the composer. Di Domenica, Robert, 1927- Di Domenica, Robert, 1927- Correspondence. Di Domenica, Leona. Correspondence. aat Programs (Documents) aat Photographic prints. aat Paintings (Visual works) aat Di Domenica, Leona. Bender, Ellen, 1947- Library of Congress, Music Division EAD http://hdl.loc.gov/loc.music/eadmus.mu009010 EAD PDF http://hdl.loc.gov/loc.music/eadmus.mu009010.3 LCCN Permalink http://lccn.loc.gov/2006568219 Reading Room http://www.loc.gov/rr/perform/ XML http://findingaids.loc.gov/source/main#mu009010 EAD METS http://hdl.loc.gov/loc.music/eadmus.mu009010.4 music/ead http://hdl.loc.gov/loc.music/eadmus.mu009010 Robert Di Domenica Collection Processed by the Music Division of the Library of Congress Music Division, Library of Congress

Washington, D.C.

2000 Guides to Special Collections in the Music Division of the Library of Congress

Contact information: http://hdl.loc.gov/loc.music/perform.contact

Catalog Record: http://lccn.loc.gov/2006568219

Finding aid encoded by Library of Congress Music Division, 2009 Finding aid written in English. 2010 March Editorial revisions made to this finding aid by Nancy Seeger in March 2010. Collection Summary Robert Di Domenica Collection 1900-1998 (bulk 1957-1993) ML31.D55 Di Domenica, Robert, 1927- 2200 items 43 containers 15 linear feet Collection material in English Music Division Library of Congress

Washington, D.C.

American composer, flutist and music educator. Music manuscripts and printed music by the composer, performance programs, materials relating to his teaching career, a small amount of correspondence, biographical material, writings, photographs and six paintings by the composer. Selected Search Terms

The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein.

People Bender, Ellen, 1947- Di Domenica, Leona. Di Domenica, Leona. Di Domenica, Robert, 1927- Di Domenica, Robert, 1927- Di Domenica, Robert, 1927- --Correspondence. Form/Genre Correspondence. Paintings (visual works) Photographic prints. Programs. Administrative Information Provenance

Gift of Mr. Di Domenica, 1994 and 1998.

Processing History

The Robert Di Domenica Collection was processed by Stefan Patejak in 2000. When the collection arrived the material was organized according to a scheme devised by Mr. Di Domenica. This scheme has been maintained. Most items and groups of items were packed in envelopes, many of which were annotated. For the music, these annotations have been added to the container list within square brackets, [ ]. Similar annotations have been added to the categories MISC. PRINTED MUSIC and ICONOGRAPHY-PAINTINGS. For significant annotations to the non-musical material, photocopies have been placed in the folder with the relevant item or in folder 43/9. In 2009 Nancy Seeger coded and edited the finding aid for EAD format.

Transfers

Sound recordings and video tapes have been transferred to the Motion Picture, Broadcasting and Recorded Sound Division.

Related Material

Twenty-eight audio tapes, three compact discs and three video tapes mostly contain performances of Di Domenica's music. Two of the five video tapes contain interviews with him. Di Domenica was involved in the production of the compact discs. All of this material is located in the Motion Picture, Broadcasting and Recorded Sound Division, Library of Congress.

The status of copyright on the materials of the Robert Di Domenica Collection is governed by the Copyright Law of the United States (Title 17, U.S.C.).

Access and Restrictions

The Robert Di Domenica Collection is open to research. Researchers are advised to contact the Performing Arts Reading Room prior to visiting. Many collections are stored off-site and advance notice is needed to retrieve these items for research use. Certain restrictions to use or copying of materials may apply.

Preferred Citation

Researchers wishing to cite this collection should include the following information: container number, Robert Di Domenica Collection, Music Division, Library of Congress.

Biographical Note

Robert Di Domenica was born in New York City on March 4, 1927. His father, Angelo, was active in his church choir. Robert received a degree in music education from New York University in 1951 and continued private study in composition with Wallingford Riegger and Josef Schmid. He studied the flute under Harold Bennett.

As a flutist he has performed with the New York City Opera, the New York Philharmonic, the Modern Jazz Quartet and the Bach Aria Group, among others. As a teacher he has taught the flute privately and has served on the faculties of the Greenwich House Music School and the Henry Street Settlement. In 1969 he joined the faculty of the New England Conservatory of Music and eventually became dean.

Mr. Di Domenica has been composing since he served in the Navy in World War II. His first serious work, Sonata for Flute and Piano, was written in 1957. He has produced a wide variety of works. His opera The Balcony premiered at the Bolshoi, with Sarah Caldwell conducting. Now retired, Mr. Di Domenica is still composing.

Among his awards are a Guggenheim Fellowship in 1972, and commissions from the Goethe Institute of Boston and the Plymouth Symphony.

In 1951 he married Leona Knopf, a gifted pianist. She has been the interpreter of her husband’s piano works. She has also collaborated with him in his work, including the piano-vocal scores of The Balcony and The Scarlet Letter. David, Peter Josef (who married Patsy Treglis), and Claude Robert (who married Bessie Hadley) are their three sons. They also have four grandchildren. Leona Knopf died on May 11, 1998. Robert Di Domenica married Ellen Bender, a composer, flutist and teacher, on April 16, 1999.

Scope and Content Note

Robert Di Domenica has had a notable career as a flutist, composer, and music educator. The collection reflects all three of these activities. However, the majority of the material relates to his endeavors as a composer. The collection includes the manuscripts of compositions from his student days through his mature works. Mr. Di Domenica is still composing, and the library hopes to receive future manuscripts.

There is a relatively complete collection of programs reflecting Di Domenica’s activities both as a composer and a performer. The collection also includes material relating to his career as an educator, including lesson plans, papers by his students and evaluations.

There is a small amount of correspondence, biographical material on Mr. Di Domenica and his relatives, writings by Di Domenica, and photographs. There are six paintings done by Mr. Di Domenica.

Organization of the Robert Di Domenica Collection

The Robert Di Domenica Collection is organized into 10 series:

Music Biographical Material Correspondence Writings Recording and Publications Material Teaching Materials Iconography Clippings Programs Other Material http://lccn.loc.gov/2006568219 Container List Box/Folder Contents 1-37 Music

The first 36 boxes contain Robert Di Domenica’s musical compositions, arranged alphabetically by title. There is material relating to Ellen Bender’s opera, Rappaccini’s Daughter for which Di Domenica wrote the libretto. There is also a small amount of printed music, which evidently belonged to Leona Knopf Di Domenica.

1-36 Music by R. Di Domenica 1/1 Arrangements for chamber ensemble, soprano and tape: final manuscript

[(1979) final original manuscript (transparency) 58 pages plus title page and instrumentation page]

1/2 Arrangements for soprano, flute (piccolo and alto flute), clarinet (bass clarinet), violin, cello, percussion, and tape: original manuscript (book 1) with laid in material

[(1979) original manuscript (3 books) also rows, program notes, course material, analysis]

1/3 Arrangements for soprano, flute, clarinet, violin, cello, percussion, and tape: original manuscript (book 2)

[see 1/2]

1/4 Arrangements for soprano, flute, clarinet, violin, cello, percussion, and tape: original manuscript (book 3)

[see 1/2]

1/5 Art of the row for solo piano: final original ms.

[(1989) final original manuscript (transparency) 61 pages plus title page and "description" page]

1/6 Art of the row for solo piano: original ms., also class examples

[(1989) original manuscript (1 loose leaf notebook) also: class examples, in front of notebook]

2/1 "Bach" counterpoint (book 1) 2/2 "Bach" counterpoint (book 2) with laid in material 2/3 "Bach" counterpoint (book 3) 2/4 "Bach" counterpoint (book 4) 3/1 Balcony- orchestral score: front matter and Act I, scene 1-3

[(1972) an opera in two acts based of Jean Genet's The Balcony. Libretto by Robert Di Domenica. Orchestral score: 416 pages plus title page, "character" page, "orchestra" page]

3/2 Balcony- orchestral score: Act I, scene 4-5

[see 3/1]

3/3 Balcony- orchestral score: Act II

[see 3/1]

4/1 Balcony- vocal score, final original manuscript: front matter and Act I

[(1972) an opera in two acts based on Jean Genet's The Balcony. Libretto by Robert Di Domenica. Vocal score by Leona Di Domenica. 247 pages plus "character" page]

4/2 Balcony- vocal score, final original manuscript: Act II

[see 4/1]

4/3 Balcony, rows

[(1972) (an opera in two acts) all rows The Balcony]

4/4 Balcony, notebook: Act I, scene 1 5/1 Balcony, notebook: Act I, scene 2 5/2 Balcony, notebook: Act I, scene 2 (cont.) 5/3 Balcony, notebook: Act I, scene 3 5/4 Balcony, notebook: Act I, scenes 4-5 5/5 Balcony, notebook: Act I, scene 5 (cont.) 6/1 Balcony, notebook: Act II, scene 1 6/2 Balcony, notebook: Act II, scenes 2-3 6/3 Balcony, notebook: Act II, scene 4 6/4 Balcony, notebook: Act II, scene 4 (cont.) 6/5 Balcony, notebook with laid in material: Act II, scene 4 (cont.) and exit music 6/6 Balcony, libretto

[My first opera, based on Jean Genet's play The Balcony. The libretto is by myself, published during the writing of the opera]

7/1 Beatrice Cenci, original orchestral score: front matter and Act I

[(1993) original transparency orchestral score, 851 pages plus title page and pages “a” and “b.” An opera in three acts based on Alberto Moravia's play Beatrice Cenci. This is the second opera in a trilogy: Francesco Cenci, Beatrice Cenci, The Cenci. Libretto by the composer.]

7/2 Beatrice Cenci, original orchestral score: Act I (cont.)

[see 7/1]

7/3 Beatrice Cenci, original orchestral score: Act II

[see 7/1]

8/1 Beatrice Cenci, original orchestral score: Act II (cont.)

[see 7/1]

8/2 Beatrice Cenci, original orchestral score: Act III

[see 7/1]

8/3 Beatrice Cenci, original orchestral score: Act III (cont.)

[see 7/1]

9/1 Beatrice Cenci, piano/vocal score: front matter and Act I, scenes 1-5

[Original pencil manuscript of piano-vocal score of Beatrice Cenci. An opera in 3 acts, 638 pages]

9/2 Beatrice Cenci, piano/vocal score: Act I, scenes 6-10

[see 9/1]

9/3 Beatrice Cenci, piano/vocal score: Act II, scenes 1-4

[see 9/1]

10/1 Beatrice Cenci, piano/vocal score: Act II, scenes 5-10

[see 9/1]

10/2 Beatrice Cenci, piano/vocal score: Act III, scene 1

[see 9/1]

10/3 Beatrice Cenci, piano/vocal score: Act III, scenes 2-5

[see 9/1]

10/4 Beatrice Cenci, piano/vocal score: epilogue

[see 9/1]

11/1 Black poems for baritone voice, piano, tape: final original ms.

[(1976) final original manuscript (transparencies) 37 pages including title page (no transparencies for pre-taped parts located yet)]

11/2 Black poems for baritone voice, piano, tape: original ms. and rows

[(1976) original manuscript (1 notebook) (and 11 different rows used)]

12/1 Cenci, front matter and orchestral score

[original transparency orchestral score. A drama with music, based on Shelley's (Act Five) The Cenci. 107 pages plus title page and pages “a” and “b.” Libretto by R. Di Domenica.]

12/2 Cenci, orchestral score: notebook 1 with laid in material

[Original pencil manuscript (orchestral score) (in 3 notebooks and inserted loose pages) (row used in opera in book 1). None of the abundant dialogue is in this manuscript. Refer to original manuscript (final form- transparencies)]

12/3 Cenci, orchestral score: notebook 2

[see 12/2]

12/4 Cenci, orchestral score: notebook 3 with laid in material

[see 12/2]

12/5 Cenci, piano/vocal score (photocopy)

[Piano-vocal score (piano part only) 39 pages in one notebook and loose pages 40-45. Attached to the notebook is a spiral bound photocopy which is the final complete form (vocal parts, dialogue). It is 69 pages plus a title page, a character page (a) and orchestra-scenario page (b)]

12/6 Cenci, piano/vocal score: piano part

[see 12/5]

13/1 Composition in the forms, notebook 1 13/2 Composition in the forms, notebook 2 with laid in material 13/3 Composition in the forms, notebook 3 with laid in material 13/4 Composition in the forms, notebook 4 with laid in material 13/5 Composition in the forms, notebook 5 with laid in material 14/1 Concerto for violin and chamber orchestra, final score

[(1962) final manuscripts (transparencies) Score in my manuscript: 112 pages including title/instrumentation page]

14/2 Concerto for violin and chamber orchestra, original ms. and laid in material

[(1962) original manuscript (also rows)]

14/3 Concerto for violin and chamber orchestra, parts (11)

[solo violin 12pp., flute 8pp., oboe 8pp., clarinet 8pp., horn 9pp., bassoon 9pp., violin-1 9pp., violin-2 9pp., viola 10pp, bass 9pp.]

15/1 Concerto for wind quintet, strings, and timpani; final original ms.

[(1964) final original manuscript (ink on transparencies) score: 115 pages]

15/2 Concerto for wind quintet, strings, and timpani; final original parts- photocopies (11)

[(1964) photocopy (of my original manuscript) bound parts: 1 of each string part, but the work should be performed with a string section]

15/3 Concerto for wind quintet, strings, and timpani, original ms.: movement I and additional material

[(1964) original manuscript (loose pages and two books) (also rows)]

15/4 Concerto for wind quintet, strings, and timpani, original ms.: movement II

[see 15/3]

15/5 Concerto for wind quintet, strings, and timpani, original ms.: movements II (cont.) and III

[see 15/3]

15/6 Concord revisited for solo piano and wind ensemble (with soprano and baritone voice and tape), final original ms.

[(1978) final original manuscript (transparency) 75 pages plus title page and instrumental page]

16/1 Dream journeys, final original ms.

[(1984) written in 1985 but closer to ‘84 in reality. Final original manuscript (transparency) 33 pages plus title page and instrumentation page]

16/2 Dream journeys, original ms.: notebook 1 and laid in material

[(1984) original manuscript (in 2 notebooks and loose pages) not in a clear order]

16/3 Dream journeys, original ms.: notebook 2 and laid in material

[see 16/2]

16/4 Dream journeys, published score (2 copies)

[Also: actual publication- Margun Music., Inc.]

16/5 Eleven short pieces, final original ms.

[(1973) final original manuscript (transparency) 16 pages including title page (which is page 1)]

16/6 Eleven short pieces, original ms.

[original manuscript (and 11 different rows used in piece)]

16/7 First kiss of love, final ms.

[(1960) final original manuscript (ink on transparency) 5 pages]

16/8 First kiss of love, original ms. and laid in material

[original manuscript (incomplete row chart and typed text)]

16/9 First kiss of love, published copies (2 copies)

[actual publication- Edition Musicus]

16/10 Four movements for piano, final ms.

[(1959) final original manuscript (transparency) 10 pages plus printed title page]

16/11 Four movements for piano, original ms.

[(1959) original manuscript (no row charts)]

17/1 Four short songs, final original ms.

[(1975) flute, clarinet in B♭, violin, cello and piano. Final original manuscript (transparencies)]

17/2 Four short songs, original ms.

(1975) flute, clarinet in B♭, violin, cello and piano. Original manuscript (1 notebook) plus printed texts (and row chart)]

17/3 Four short songs, final original ms.- parts (5)

[all parts except piano (which plays from 17/1)]

17/4 Francesco Cenci, final original score: front material and Act I

[(1996) original manuscript (transparency) an opera in two acts. First part of a trilogy (Francesco Cenci, Beatrice Cenci, The Cenci) 297 pages plus title page and pp. a, b, c]

17/5 Francesco Cenci, final original orchestral score: Act II

[see 17/4]

18/1 Francesco Cenci, original orchestral ms.: notebook 1

[(an opera in two acts) original pencil manuscript (orchestral score) (in 6 notebooks and inserted in loose pages) (Rows used in opera in book 1)]

18/2 Francesco Cenci, original orchestral ms.: notebook 2

[see 18/1]

18/3 Francesco Cenci, original orchestral ms.: notebook 3

[see 18/1]

18/4 Francesco Cenci, original orchestral ms.: notebook 4

[see 18/1]

18/5 Francesco Cenci, original orchestral ms.: notebook 5 with laid in material

[see 18/1]

18/6 Francesco Cenci, original orchestral ms.: notebook 6 with laid in material

[see 18/1]

19/1 Francesco Cenci, piano/vocal score: notebook 1

[an opera in two acts, piano-vocal score, original pencil manuscript (used to make pencil master) (in 3 notebooks- no title page, instrumentation etc.)]

19/2 Francesco Cenci, piano/vocal score: notebook 2

[see 19/2]

19/3 Francesco Cenci, piano/vocal score: notebook 3

[see 19/2]

19/4 Gone are the rivers and the eagles, final original ms.

[(1992) variations for orchestra on two songs of Charles Ives, 49 pages plus title page and instrumentation (and description) page, final original manuscript (transparency)]

19/5 Gone are the rivers and the eagles, original ms. and analysis

[original manuscript (1 notebook and loose pages) (rows) also: 7 pages of analysis]

19/6 Harmony, notebook 1 and laid in material 20/1 Harmony, notebook 2 20/2 Harmony, notebook 3 20/3 Harmony, notebook 4 and laid in material 20/4 Harmony, notebook 5 20/5 Harmony, notebook 6 20/6 Harmony, notebook 8 21/1 Hebrew melodies, final ms.

[(1983) for soprano, violin and piano, final original manuscript(transparencies) 28 pages plus title page and page of printed text]

21/2 Hebrew melodies, original ms. with laid in material and other material

[(1983) for soprano, violin and piano, original manuscript (1 notebook) (and row chart) also printed texts]

21/3 Hebrew melodies, violin part

[5 pages]

21/4 Holy colophon, final ms.

[(1980) for orchestra, chorus, soprano and tenor. Final original manuscript (transparency) 75 pages plus title page, plus intermediate page, plus 4 pages of text]

21/5 Holy colophon, original ms.- notebook

[(1980) for orchestra, chorus, soprano and tenor (original manuscripts, rows, programs, some of text)]

21/6 Holy colophon, original ms.- misc. material

[see 21/5]

21/7 Holy colophon, vocal parts (tenor and soprano in ms., chorus in photocopy)

[(1980) for orchestra, chorus, soprano and tenor. Original manuscript (transparencies) of vocal parts. Soprano parts: 8 pages plus title page. Tenor part: 8 pages plus title page. Tenor part: 8 pages plus title page. Chorus part (photocopy): 10 pages]

21/8 Improvisations, final ms.

[(1974) final original manuscript (transparency) 16 pages]

21/9 Improvisations, original ms.

[(1974) final original manuscript (and row chart)]

22/1 Music for flute and string orchestra, final ms.

[(1967) final original manuscript (ink on transparency) score: 67 pieces]

22/2 Music for flute and string orchestra, original score: movement I

[original manuscripts (and row square)]

22/3 Music for flute and string orchestra, original score: movements II and III

[see 22/2]

22/4 Music for flute and string orchestra, original score: movement III (cont.)

[see22/2]

22/5 Music for flute and string orchestra, original score: misc. material

[see 22/2]

22/6 Music for flute and string orchestra, photocopied parts (6)

[photo copies bound set. The flute part is printed incorrectly. 1-2 should be facing (not the usual 2-3)]

22/7 Music for stanzas, final ms. and misc. material

[(1981) for flute, clarinet, horn, bassoon and tape (pre-taped oboe & English horn) final original manuscript (score and parts) (transparency) score: 20 pages plus title page and 3 pages of texts]

22/8 Music for stanzas, original ms. and misc. material

[(1981) for flute, clarinet, bassoon, horn and tape. Original manuscript (such as it is) (loose pages) (rows) also sketches and source material (1 notebook and loose pages)]

22/9 Music for stanzas, sketches and source material

[see 22/9]

22/10 Music for stanzas, parts (3) 23/1 Piano concerto no. 1, final ms.

[(1963) final original manuscript (transparency) (ink) 89 pages]

23/2 Piano concerto no. 1, original ms.: act I and misc. material

[(1963) original manuscript (and row chart) and other material]

23/3 Piano concerto no. 1, original ms.: act II

[see 23/2]

23/4 Piano concerto no. 1, original ms.: act III

[see 23/2]

23/5 Piano concerto no. 2, final ms.

[(1982) final original manuscript (transparency) 125 pages plus title page and instrumentation page]

24/1 Piano concerto no. 2, original ms.: notebook 1 and additional material

[original manuscript (5 notebooks and 4 different rows used) {in first notebook-loose pages}]

24/2 Piano concerto no. 2, original ms.: notebook 2

[see 24/1]

24/3 Piano concerto no. 2, original ms.: notebook 3

[see 24/1]

24/4 Piano concerto no. 2, original ms.: notebook 4

[see 24/1]

24/5 Piano concerto no. 2, original ms.: notebook 5

[see 24/1]

24/6 Quartet for flute, violin, viola, and cello; final ms.

[(1960) score and parts, final original manuscript (transparencies) score: 42 pages plus “printed” title page (ink)]

24/7 Quartet for flute, violin, viola, and cello; original ms.

[(1960) original manuscript (and rows)]

24/8 Quartet for flute, violin, viola, and cello; parts (4)

[Parts: copied by Donald Stewart. Flute: 9 pages (2-3 facing). Violin: 9 pages (2-3 facing) when assembled. Viola: 9 pages (1-2 facing). Cello: 9 pages (2-3 facing).]

25/1 Quartet for violin, flute, horn, and piano; original ms.

[(1959) original manuscript and rows--basic and inv.]

25/2 Quartet for violin, flute, horn, and piano; annotated photocopy of original ms.

[(1959) photocopy of original manuscript used by publisher Margun Music, Inc. in creating publication. Original transparency destroyed in producing publications]

25/3 Quartet for flute, violin, flute, horn, and piano; published score and parts (2 copies)

[the actual publication- score and parts]

25/4 Quintet for clarinet and strings, photocopy of final ms.

[(1965) original transparency used to create publications (in which the score is in my manuscript and the parts in Donald Stewart’s) a spiral bound photocopy]

25/5 Quintet for clarinet and strings, original ms.: notebook 1

[(1965) original manuscript (and row charts for 2 different rows)]

25/6 Quintet for clarinet and strings, original ms.: notebook 2

[see 25/5]

25/7 Quintet for clarinet and strings, original ms.: misc. material

[see 25/5]

25/8 Quintet for clarinet and strings, published score and annotated parts

[Published edition, score and parts (some in my manuscript)]

25/9 Quintet for clarinet and strings, published score and parts 26/1 Saeculum aurem, final ms.

[(1967) for flute, piano and tape. Final original manuscript (ink on transprency except for some parts of score which are photocopies) Score: 36 pages plus printed title page.]

26/2 Saeculum aurem, original ms.

[(1967) for flute, piano and tape. Original manuscript with (row charts) (2 books plus pages for Movements II and III, also sketches for pre taped?)]

26/3 Saeculum aurem, sketches and misc material

[see 26/2]

26/4 Saeculum aurem, parts (2)

[Solo flute part: 11 pages. Pre-taped flute part (8): 6 pages]

26/5 Scarlet letter, orchestral score, final ms.: front matter and Act I, scenes 1-2

[(1986) an opera in three acts. Based on Nathaniel Hawthorne's The Scarlet Letter. Libretto by E. H. Elgin and Robert Di Domenica (in reality mostly done by me.) Orchestral score: 466 pages plus title page, "character" page, "orchestra" page, "scene" page. Final original manuscript (transparency)]

26/6 Scarlet letter, orchestral score, final ms.: Act I, scenes 3-4

[see 26/5]

26/7 Scarlet letter, orchestral score, final ms.: Act II, scenes 1-2

[see 26/5]

26/8 Scarlet letter, orchestral score, final ms.: Act II, scene 2 (cont.)

[see 26/5]

26/9 Scarlet letter, orchestral score, final ms.: Act III

[see 26/5]

27/1 Scarlet letter, original ms: notebook 1 27/2 Scarlet letter, original ms: notebook 2 27/3 Scarlet letter, original ms: notebook 3 27/4 Scarlet letter, original ms: notebook 4 27/5 Scarlet letter, original ms: notebook 5 27/6 Scarlet letter, original ms: notebook 6 28/1 Scarlet letter, original ms: notebook 7 28/2 Scarlet letter, original ms: notebook 8 28/3 Scarlet letter, original ms: notebook 9 with laid in material 28/4 Scarlet letter, original ms: notebook 10 28/5 Scarlet letter, original ms: notebook 11 29/1 Scarlet letter, piano/vocal score: front matter and act I

[Final original manuscript (transparency) The Scarlet Letter, an opera in three acts based on Hawthorne's The Scarlet Letter. Libretto by E. H. Elgin and Robert Di Domenica (mostly done by me). (Piano)/vocal score (1987) by Robert and Leona Di Domenica. 260 pages plus title page, "character" page, "scene" page, tempo explanation page.]

29/2 Scarlet letter, piano/vocal score: act II

[see 29/1]

29/3 Scarlet letter, piano/vocal score: act III

[see 29/1]

29/4 Scarlet letter, original ms.: notebook 1 29/5 Scarlet letter, original ms.: notebook 2 29/6 Scarlet letter, original ms.: notebook 3 29/7 Scarlet letter, original ms.: notebook 4 29/8 Scarlett letter, libretto

[My second opera. Although my friend, the poet, Gene Elgin (E. H. Elgin) is given credit for the libretto it is really by myself. The fact that he gave me a draft and that it remained in my mind eventually causing me to start the opera and then fashioning my own libretto (much in the same manner as The Balcony), all this caused me to give him credit]

30/1 Sextet for woodwind quintet and piano, final ms.

[(1957) final original manuscript (transparency) score: 29 pages]

30/2 Sextet for woodwind quintet and piano, original ms. and additional material

[(1957) original manuscript (row sketches?)]

30/3 Sextet for woodwind quintet and piano, parts

[Parts: flute, oboe, clarinet, horn and bassoon parts. Piano plays from score.]

30/4 16th century counterpoint, notebook 1 30/5 16th century counterpoint, notebook 2 30/6 16th century counterpoint, notebook 3 30/7 16th century counterpoint, notebook 4 30/8 16th century counterpoint, notebook 5 31/1 Sonata after essays, final ms.

[(1977) (with soprano and baritone voice, flute and alto flute, and tape) final original manuscript (transparency) Score: 40 pages plus title page]

31/2 Sonata after essays, original ms. and misc. material

[(1977) for piano, soprano, baritone, flute (and alto flute) and tape. Original manuscript (loose pages in envelope) (and 6 different rows used)]

31/3 Sonata after essays, flute part

[flute/alto flute part: 2 pages]

31/4 Sonata after essays, examples for lecture (text in 40/11)

[Analysis examples: 5 pages. Tanglewood seminar "lecture": 32 pages (photocopy); leture given at Tanglewood Seminar on the composing of Sonata After Essays (an analytical diary)]

31/5 Sonata after essays, bird calls, etc. and sketches

[Bird calls and sketches (in 2 notebooks)]

31/6 Sonata after essays, sketches

[see 31/5]

31/7 Sonata for alto saxophone and piano, final ms.

[(1968) final original manuscript (ink on transparency) Score: 25 pages]

31/8 Sonata for alto saxophone and piano, original ms. and misc. material

[(1968) original manuscript (row chart also on loose sheets)]

31/9 Sonata for alto saxophone and piano, saxophone part

[saxophone part: 10 pages]

32/1 Sonata for flute and piano, original ms. and misc. material

[(1957) original manuscript (and row chart)]

32/2 Sonata for flute and piano, photocopy of final ms.

[(1957) original transparency destroyed in preparing plates for publication (in my manuscript) by Edition Musicus. Enclosed is therefore a photocopy of my original transparency (score and flute part)]

32/3 Sonata for flute and piano, photocopied flute part

32/4 Sonata for flute and piano, published score and flute part (2 copies)

[published score and part (my mother's copy) (published in my manuscript)]

32/5 Sonata for piano, final score

[Final original manuscript (ink on transparency) (probably around 1955) The next to the last assignment done for Josef Schmid (followed by a sonata movement for string quartet). This work, unlike other student works was actually performed 2 or 3 times (by my wife Leonora Di Domenica). 16 pages]

32/6 Sonata for piano, original ms.

[One of the last exercises done with my Josef Schmid]

32/7 Sonata for violin and piano, final ms.

[(1966) final “original” manuscript (transparencies) (ink) Score copied by Donald Stewart: 35 pages]

32/8 Sonata for violin and piano, original ms. and misc. material

[(1966) original manuscript (incomplete rows- inv. & ret. inv. only]

32/9 Sonata for violin and piano, violin part

[violin part (movement I copied by Stewart, rest by me): 15 pages]

32/10 Sonatina for piano (1954-1955), score

[Original ink on music paper manuscript (probably 1954 or 1955) Student work, one of the last assignments done for Josef Schmid. This proceeded studies in sonata allegro form. 8 pages plus title page]

32/11 Sonatina for piano (1958), final ms.

[(1958) final original manuscript (ink on transparency) 17 pages]

32/12 Sonatina for piano (1958), original ms.

[(1958) original manuscript (no row chart)]

32/13 Sonatina for piano (1958), published score (2 copies)

[actual publication- Edition Musicus]

32/14 Songs from Twelfth night, final ms.

[(1976) for tenor, flute, viola da gamba and harpsichord. 21 pages (including two different formats of Measure 65 to end. The single page solution is probably the intended one. Final original manuscript (transparency)]

32/15 Songs from Twelfth night, original ms. and additional material

[(1976) original manuscript (1 book) (rows in loose sheets)]

32/16 String quartet (1948), photocopied score

[Photocopy of work written before my 6 years of study with Josef Schmid]

32/17 String quartet (1956), final score

[(1956) another study in sonata allegro form. Score and parts. This is the last assignment in my 6 years of study with Josef Schmid. All studies were done in a tonal language. The first work done after my study was Symphony (1956). This was still in tonal language, although extended in some movements approaching 12 tone. The Sonata for Flute and Piano (1957) is the first piece to be “actually” 12 tones and my works remained in this language from then on. Score: 18 pages. Parts: 6 pages each (2-3 facing if reproduced).]

32/18 String quartet (1956), parts (4)

[see 32/17]

33/1 String quartet (1958), final ms.

[(1958) final original manuscript (ink on transparency) 85 pages]

33/2 String quartet (1960), original ms.

[(1960) original manuscript (including revised notations for rondo)(no row chart)]

33/3 String quartet (1960), revisions for rondo

[see 33/2]

33/4 Symphony (1956), final ms.

[(1956) final original manuscript (ink on transparency). 66 pages plus title page, plus instrumentation page. First work written after my 6 years of study with Josef Schmid. Never performed. I have always considered the next work (Sonata for Flute and Piano) to be my “opus 1" because of the musical language]

33/5 Symphony (1956), second draft of original ms.

[(1956) first work written after completing studies with Josef Schmid (student of Alban Berg) work dedicated to Schmid, never performed. Incomplete 1st draft and complete 2nd draft.]

33/6 Symphony (1956), first draft of original ms. and misc. material

[see 33/5]

34/1 Symphony (1961), final ms.

[(1961) final original manuscript (ink on transparency) (12 x 17) Score: 48 pages : 48 pages (12x17) plus title page (11x14)]

34/2 Symphony (1961), original ms.

[(1961) original manuscript]

34/3 Symphony (1961), photocopied parts (28)

[(1961) All parts should have been printed with even numbered pages on left and odd on right. The following parts printed incorrectly (publisher error): piccolo, flute II, clarinet I, clarinet II, bassoon I, oboe I has pages 3 and 6 upside down]

34/4 Symphony (1961), misc. material

[(1961) original manuscript (also rows, a page of sketches)]

34/5 Symphony (1961), Mozart's Symphony No. 40--printed score

[a pocket score to Mozart’s G minor symphony- which my work is based on]

35/1 Thema enigma, final ms.

[(1985) (for flute) final original manuscript (transparency) 1 page. Written (along with other composers) for Gunther Schuller’s 60th birthday concert. It is solo tuba to his piece for tuba and chamber orchestra (Capriccio for Tuba and Chamber Orchestra--1960), which I used in my Variations in a Theme by Gunther Schuller (1983). The ‘requirement” was that they be 1 minute long (hence my♪=431⁄2)]

35/2 Theme and variations for piano, score

[Original pencil (on music paper) manuscript (1953) Student work. One of the “assignments” done for my teacher Josef Schmid. I believe this proceeded studies in the rondo, sonatina, and sonata form. 29 pages]

35/3 Trio for flute, bassoon, and piano, original ms.

[(1966) original manuscript (and rows)]

35/4 Trio for flute, bassoon, and piano, photocopied original ms.

[(1966) photocopy of “original pencil manuscript” sent with first shipment. No “final” score was ever made. Score: 50 parts]

35/5 Trio for flute, bassoon, and piano, misc. material 35/6 Trio for woodwinds, photocopied score

[Photocopy of work written before my 6 years of study with Josef Schmid. I believe the Trio for Woodwinds was written while I was studying with Wallingford Riegger.]

35/7 Variations on a theme by G. Schiller, final ms.

[(1983) for solo tuba and chamber ensemble, final original manuscript (transparency) 42 pages plus title (instrumentation) page]

35/8 Variations on a theme by G. Schiller, original ms. and misc. material

[(1983) for solo tuba and chamber ensemble, original manuscript (1 notebook) Schuller’s theme on a loose photocopy (in notebook) (and row chart)]

36/1 Variations and soliloquies for orchestra, final ms.

[(1988) final original manuscript (transparency) 123 pages plus title page and instrumentation page]

36/2 Variations and soliloquies for orchestra, original ms.: notebook 1 with laid in material

[(1988) original manuscript (2 books and loose pages) (and row charts) also: program notes, Hamlet soliloquy, 9 page analysis (in book-1 loose)]

36/3 Variations and soliloquies for orchestra, original ms.: notebook 2 with laid in material

[see 36/2]

36/4 Variations and soliloquies for orchestra, misc. material

[see 36/2]

36/5 Variations on a tonal theme, final ms.

[(1961) final original manuscript (ink on transparency) 2 pages]

36/6 Variations on a tonal theme, original ms.

[(1961) original manuscript (no rows, but rows in score)]

36/7 Variations on a tonal theme, published score

[(1961) actual publication- Edition Musicus]

36/8 Violin sonata no. 1, photocopied score

[Photocopy of work written before my 6 years of study with Josef Schmid. I believe the Violin Sonata was written while I was studying with Wallingford Riegger.]

36/9 Woodwind quintet, final ms.

[(1963) final original manuscript (ink on transparency) 71 pages (alternate vocal ending added at the time of composition)]

37 Music by Ellen Bender and Robert Di Domenica 37/1 Rappaccini's daughter, photocopied score

[Ellen Bender’s opera Rappaccini’s Daughter, based on Hawthorne’s story. Her first opera (in one act). Her score to her opera.]

37/2 Rappaccini's daughter, libretto; photocopies of first and final drafts

[The libretto written by me. 1) my draft, 2) her final form]

37/3 Misc. material 37/4 Printed Music

[Leona Di Domenica believes these are pieces studied with her first piano teacher]

Emerson, De Witt G. The masters and their melodies Gossec, François Joseph. Gavotte in D Gurlitt, Cornelius. Album leaves for the young Haydn, Joseph. Sonata no. 2 Haydn, Joseph. Sonata no. 10 Mendelssohn, F. Praeludium Reinhold, Hugo. Miniaturbilder Scott, Cyril. Dansè negre Schytté, Ludvig. Witches' revels Swift, Newton E. Twelve children's pieces for piano 38 Biographical Material

The biographical folders contain some autobiographical material by Mr. Di Domenica. There are also various materials on his wife, Leona; his parents, Angelo and Philomena Di Domenica; and his in-laws, Henry and Beatrice Knopf.

38/1 Robert Di Domenica 38/2 Leona Knopf Di Domenica (1) 38/3 Leona Knopf Di Domenica (2) 38/4 Angelo and Philomena Di Domenica 38/5 Henry and Beatrice Knopf 38-39 Correspondence

This is correspondence between Robert Di Domenica and his family, friends, and business associates, arranged alphabetically by the correspondent’s name. There is also a group of recommendations written for his students.

38/6 Babbitt, Milton 38/7 Caldwell, Sarah 38/8 Di Domenica, Leona 38/9 Di Domenica, Philomena 38/10 Dyer, Richard 38/11 Edward B. Marks Music Corporation 38/12 Feig & Taubman 38/13 John Simon Guggenheim Foundation 38/14 Kalban, Bernard 38/15 New England Conservatory of Music 38/16 Pfeiffer, Ellen 38/17 Plymouth Philharmonic Orchestra 38/18 Podlaha, Karl 38/19 Rorem, Ned 38/20 Rosica Colin Ltd. 39/1 Schmid, Josef (1952-1959) 39/2 Schmid, Josef (1960-1969) 39/3 Schmid, Josef (no date) 39/4 Schuller, Gunther 39/5 Smith, Fenwick 39/6 Taubman, Joseph 39/7 Misc.: A-L 39/8 Misc.: M-Z 39/9 Recommendations: 1975-1982 39/10 Recommendations: 1983-1985 39/11 Recommendations: 1986-1988 39/12 Recommendations: 1989-1991 39/13 Recommendations: 1992-1994 39/14 Recommendations: 1995-1996 39/15 Recommendations: 1997-1998 39/16 Unidentified 40 Writings

This is a group of writings by Robert Di Domenica, including analyses of several of his compositions. There are also writings by others, including student compositions.

40/1 Analysis of The Cenci Trilogy 40/2 Analysis of Concerto Wind Quartet, Strings, and Timpani 40/3 Analysis of Gone are the River and the Eagle 40/4 Analysis of Variations and Soliloquies 40/5 The esthetic and general philosophical attitudes of the major German Romantic composers 40/6 Friends--past and present 40/7 List of works that influenced me (I hope) 40/8 Musical theory and composition in the college 40/9 60th birthday talk 40/10 Some recordings I made as a flutist 40/11 Sonata after essay (2 copies) (music in 31/4) 40/12 Theory--composition 40/13 Third stream 40/14 Writings by others 40 Recording and Publications Material

This is material relating to recordings in whose production Robert Di Domenica was involved. There is also a flyer from Edition Musicus, which published some of Robert Di Domenica’s music.

40/15 Material relating to Leona Di Domenica's recordings 40/16 Material relating to GM Recordings 40/17 Material relating to Edition Musicus 41 Teaching Material

This is material relating to Robert Di Domenica’s career as an educator. Included are lesson plans, roll books, and student evaluations.

41/1 Lesson plans--Advanced harmony: 1986-87 41/2 Lesson plans--Advanced harmony: 1991-92 41/3 Lesson plans--18th and 19th century harmony/advanced harmony: 1989-90 41/4 Lesson plans--Tonal composition: 1986-87 41/5 Lesson plans--Tonal composition: 1991-92 41/6 Piano music 41/7 Roll book: 1986-87 41/8 Roll book: 1989-1990 41/9 Student evaluations 41/10 Material relating to the New England Conservatory of Music 41/11 Material relating to Greenwich House Music School 42 Iconography

This is a collection of photographs of Mr. Di Domenica, his relatives, friends and associates. There are some other photographs as well. There is also a folder containing a photocopy of a painting or drawing. This also includes a group of six oil paintings done by Mr. Di Domenica in his youth.

Paintings

(Done between the ages of 10-17, listed in approximate order of production with dimensions in inches.)

Mother and child (13x6) Still life (27x27) Two houses (35x39) Still life with monkey and head (35x41) Still life with table and vase (31x37) Portrait of my mother (35x41) 42 Photographs 42/1 Robert Di Domenica (1) 42/2 Robert Di Domenica (2) 42/3 Leona Di Domenica and children 42/4 Angelo and Philomena Di Domenica 42/5 Di Domenica family: other members 42/6 Friends and associates 42/7 Miscellaneous 42 Other 42/8 Photocopies 43 Clippings

This is a group of newspaper and magazine clippings relating to Robert Di Domenica’s concerts, publications and recordings, as well as other materials. Within these three categories the material is arranged chronologically.

43/1 Concerts: 1948-1998, n. d. 43/2 Publications and recordings: 1982-1985, n. d. 43/3 Misc.: 1974-1998 43 Programs

This is a group of programs of performances involving Robert Di Domenica either as a composer or a performer, arranged chronologically.

43/4 1948-1957 43/5 1958-1975 43/6 1976-1984 43/7 1985-1990 43/8 1991-1998, n.d. 43 Other Material

This folder contains miscellaneous material such as a stock certificate and a short biography of Sarah Caldwell, mentioning her performance of Di Domenica’s work. There is also a group of photocopies of miscellaneous annotated envelopes.

43/9 Miscellaneous